"Just as the supreme lyricism of the second movement of Op. 90 made us instinctively fast-forward to Schubert, so the angular awkwardness of the F-major march that serves as the scherzo of Op. 101 instantly brings to mind some of the most grotesque visions of Schumann: here are the same obsessive dotted rhythms, the anxious repeated notes, the muscular jumps. Only in the gentle, subdominant-hued trio, does the wonderful weirdness abate, yet even then the deceptive artlessness of the melody is contravened by the stark dissonance created by its subjection to canonic treatment."